#I suppose that was a reference to her Boudica

[quietparanoiac]

Sister Boniface Mysteries (2022–), 1x07

[diana-prince-s]

sorry if you've answered this before :'0 but what do you think rosé n denali look like in the spartan au, like any specific things you haven't put in the actual text ? also ur writing is amazing, i can't wait for the next chapter ^^

This is a really good question! I think in the writing I describe Rosé as being tall and having red hair like the famed warrior women to the West or something like that, which was supposed to be a kind of reference to Boudica who didn’t live until like hundreds of years after this story takes place lol — but more generally it’s just nodding to the fact that she has a Scottish/Celtic look. She has the perfect mixture of sharp and large, masculine features but also looks womanly, maybe more because of the air about her rather than her actual stature. Picture the Rosé of her top four episode plaid look, with that beautiful long red hair and intense face. She is thin but muscular and still “womanly” or whatever and she has stretch marks on her stomach because she’s had children. I also think she’s pretty tall. She has lots of very light freckles that aren’t incredibly apparent on her skin because they’d create distance between her and the gods, but otherwise she’s very divine-looking. She certainly stands out.

Denali is shorter and has full hips like some of her more intense padding looks, and she has really beautiful tanned olive skin. Her hair is black (I love brunette Denali more than anything) and very long, and she usually wears it down around her shoulders. Her features are small but still pretty, softer than Rosé’s really strong characteristics. And of course she has a great ass. Something about this Denali is just kind of young and new and small and contained, though she doesn’t necessarily have a personality to match her looks. I honestly see her and Jan being similar, and maybe her and all the other women, while Rosé sort of stands above and apart from the rest

[megashadowdragon]

fgo theory is caster cu really odin 

comments : 

There is also the 10 bond CE for him being the Yggdrasil Tree, which is very Norse. (the fact he needs a bunch of Yggdrasil seeds may also be a bit of a hint.) Interestingly, the Wickerman festivals were held throughout Europe (Areas such as England and Scotland) and were regarded as a neo-pagan festivity. Chances are, if CasCu really is Odin, it is highly likely he will take action in the English Lostbelt second part. I think itd be really cool, but if that was the case itd be more likely Cu caster was a Cu-Odin fusion similar to Scathach-Skadi. We know its within Odin's ability to do a fusion like this due to how he did the same for Skadi. It also explains how caster cu retains the protection from arrows and disengage skills. It also makes more sense how he's kept his identity a secret, because it's not false that he is Cu.

www . reddit . com/r/grandorder/comments/lkw9xm/summary_of_the_caster_cu_chulainnodin_theory/

At absolutely no point does he ever give his name or makes any mention to it.

Other Servants who initially don't give their names say that they'll give it to you later. Caster does not even bring up the subject.

In the Garden of Sinners crossover event, he says "there's no Cú Chulainn here". It's treated as a gag, but...

In the Singularity F Memorial Quest, he's the only Servant referred to by his Class name instead of his True name.

In Lostbelt 6 he finally introduces himself... as Grimnir. This is an alias that Odin uses in the Grímnismál.

He's not supposed to be the Caster of the Fuyuki Grail War in the first place. In the original reality, it's Medea, while in FGO reality it's Solomon. Material states that Singularity F is the result of data colliding, and Caster resulted from that. However, in that case it should be either Solomon or Medea who appear in Singularity F, not Cú Chulainn.

One of his lines goes as following: "Isn't bit boring to play a game that never ends? For better or for worse, it's like you can't move the pieces forward, yeah?" Is he talking about Singularity F? At any rate, this sounds weird.

His Final Ascension art and animation update features two white wolves. Odin is stated to have two wolves named Geri and Freki.

His second Noble Phantasm, which he mentions in one of his My Room lines, is called "Ochd Deug Odin - Seal of the Great God". It's an exceedingly powerful Rank A Anti-Fortress Noble Phantasm with potentially Game Breaking effects, but what's interesting is its description: it activates by chanting its True Name and using all 18 primordial runes granted by Scáthach at once (keep in mind she taught him the Norse ones) and it "temporarily unleashes the power of the rune possessed by the Great Odin". Aside from the weirdness of him even having that Noble Phantasm in the first place (he's not supposed to have Wickerman either, but at least we get an explanation for that), why can't he use it? (Potential Game-Breaker status not withstanding).

In the North America version of the game, his Bond Craft Essense is called "Yggdrasil Tree". That's taken from Norse Mythology, so why would a Celt have it?

In addition, the Yggdrasil tree has a particularly strong tie to Odin. The Ygg bit is another name for him, and according to legend at some point he hanged himself from one of its branches to gain wisdom.

For some reason, he's in the Nordic Fields during Boudica's 3rd Strengthening Quest.

During Valentine's Day in the return gift scene, he talks about the Human Order Incineration and the Human Order Reorganization - a.k.a. the Lostbelts. Somehow he knew about the Lostbelts before the game even got to that point.

In the 2019 Valentine's event, he's seen reading the book "Scandinavia's Beautiful Mountains".

In the FGO mats, Sigurd takes special notice of him and then has a Double Take. He also seems confused about him in his material profile. The fact that Sigurd noticed Caster is odd, but it should also be noted that Sigurd encountered Odin a number of times in his legend, thus making him one of the most likely people to recognize him.

Scáthach's Interlude brings up a LOT of questions. The regular Lancer Cú Chulainn says that his power is reduced because half his Saint Graph is missing. Mash suggests that the reduction in power may be because he was separated in numerous classes, but Lancer Cú is surprised that he can be summoned as a Caster. In addition, there are several Servants summonable in numerous classes, and none of them has this problem. There's a possibility that the other half of the Saint Graph went to Caster, and he's using an external source to stabilize it.

According to the Arcade version of FGO, it's impossible for any version of Cú Chulainn to be summoned without Gáe Bolg or the skill "Martial Arts Disciplining in the Shadow Country". Yet Caster has neither, thus making him an impossible summoning.

Not very noticeable in the English version, but he occasionally slips into using the "washi" pronoun during dialogue. For those who might not know, "washi" is actually pretty formal, and contrasts Cú Chulainn's much more casual "ore".

A lot of his official art has him looking subtly different that the other versions of Cú Chulainn.

He has lighter-coloured hair in all of his artwork, and Fate/Grand Carnival gives him wrinkles under the eyes. This trait is usually used in anime to show a character around 40-50 years old; an age that Cú Chulainn never reached.

In his card art and formal outfit card, his eyes are almost orange rather than red. In addition, one eye is always at least partially hidden.

In his April Fool's card, he has different facial features than the rest of the Cú Chulainns.

Tying to the above, Odin is known for disguising himself as an older man, usually a wizard, in a hood, and he's missing an eye. Missing eye aside, Caster fits most of that criteria, and as pointed out above, most his art hides his eye anyway. Odin gave said eye in exchange for wisdom, and there are a few remarks that Caster is getting smarter.

In the original Fate/stay night, Emiya draws a connection between Gáe Bolg and Odin's spear, Gungnir. Considering that he has picked up things like Rho Aias and Caladbolg, we can probably take him at his word. In his animation update, Caster throws his staff above the enemies heads, and then it changes tragectory to attack them from behind. While this could easily be a reference to Gáe Bolg's actual method of killing in the myth (it entered the victim through the asshole), it could also be a reference to how Odin would throw Gungnir above the heads of his enemies to declare a war.

Another detail from his animation upgrade is that his Instant Runes often take the form of a Valknut; this symbol according to some scholars is associated with Odin.

There are overall several indications that Caster will play a significant role later in the story: he's featured in the trailer of Lostbelt 6 and received his animation update during the Lostbelt 6 livestream, and Word of God has implied several times that we will be returning to Singularity F at some point.

Tying to the above, in one of My Room conversations, he say's he'll teach you how to use Runes later. Maybe it's not Blatant Lies after all.

Caster and Odin share several personality traits. Both of them are known as "the raging one", are strongly tied with the concept of war, magic, and wisdom, and both of them are The Gadfly - as Caster displays in Singularity F when he tries to get Mash to activate her Noble Phantasm. In addition, in various events Caster seems to have a gambling problem, which is also one of Odin's traits. Not to mention "summon me as a Lancer" works for Odin too.

The recent Lostbelt 6 update also adds fuel to the fire. In My Room dialogues, Scáthach tells him that his Rune magic is slightly different from what she taught him. He asks Sigurd not to look at him with the glasses, when he sees Brynhildr he muses that this must be fate/karma and specifically refers to Scáthach-Skadi as "Lostbelt Skadi."

His new battle lines from the same update are just as interesting.

"Witness the essence of the Rune magecraft taught by Scáthach... Sure, let's go with that." Along with Scáthach accusing him of his Rune magic being different, this could easily imply that he didn't learn them from her.

Another line is that "he doesn't have the noose of his neck anymore". As an above point states, this Odin did this to learn his runes. The noose bit also never happened to Cú Chulainn.

One of his victory lines references "wolves and crows" and that he has "no idea what they're talking about". The crows part could be a reference to the story of Cú Chulainn's death, which features a crow sitting on his corpse, but the whole quote seems to better reference Odin and his pets; the wolves Geri and Freki, and the crows Huginn and Muninn.

Lostbelt 6 also gives his a buff to his Disengage skill. More specifically, it's actually two buffs that activate back-to-back, with the first called "At the Fountain" and the second called "Sacrifice to the World Tree". Very specific, game.

In Lostbelt 2, it is outright stated that it was Odin who fused Skadi and Scáthach together. Who says he never did it before?

[swindlersstole]

38 w jasper x sylv if you want to, please

i apologize for this being au stuff but it occurred to me that in The Gemminary, jasylv is the equivalent of henjade, and i could think of nothing else after that

(Act 2 Spoilers - end of Octagonia with minor references to Sniflheim)

38. “You fainted…straight into my arms. You know, if you wanted my attention you didn’t have to go to such extremes.”

~

“Here--I think you’d better have this.” Norberto gestured to Gemma, an orante harp in his hands. “I found it on my travels, and I’ve been trying to track you down to give it to you ever since.”

“Oh my gosh.” Gemma took the harp with more than just simple relief in her eyes and movements. “Where on earth did you... oh, it doesn’t really matter, does it? Thank you, Norberto, this--we might be able to get to Vinaheim now.”

“What do you mean?”

“The Lumitalowe strait has been blocked off for some time.” Jasper said. “Word of mouth says it’s the fault of a golden glacier--but we’ve been unable to see if that holds merit until now.”

“The last time we tried setting sail, another Sentinel forced us back.” Martina added. “Dreadful thing, no sense of decorum.”

Norberto raised an eyebrow. “Less decorum than Boudica?”

Martina only shrugged.

“But, even with all that aside,” Gemma cut in, “we still haven’t found everyone yet. Erik and Mia always said if they found trouble, they’d go back to Vinaheim, but Rini...”

She said nothing after the fact, but silence alone said volumes. If nothing else, Japser had to applaud the Luminary for her growing diligence as a leader, in not letting her emotions get the better of her. Norberto seemed to think similarly, and he placed a hand on the princess’ shoulder, comforting smile on his face.

“Right. Well--we have friends to find, and an evil overlord to defeat. I think we’d best be moving along then, don’t you?” 

Now a bit more at ease, Gemma returned the smile with one of her own. “Mmhm.”

“That’s the spirit!” Norberto drew back his hand, and clapped once, gingerly, in delight. “But, first, if... all of you don’t mind--Jasper?”

Jasper raised a brow. Something about that tone of voice was all too familiar to him, and he wasn’t quite sure that he liked it years gone by. “...what is it?”

As he feared, Norberto turned to him with an infallible cheer about him, and said, “I’m going to fall over on you.”

And he did.

It was enough warning for Jasper to catch him before hitting the casino floor, just fast enough that the lot of them didn’t immediately start to crowd around him. Jasper wished he could say that it was a surprise, that Norberto scared him as much as he did the others (and he supposed, quietly, there was some fear for him abound) but it was mostly exasperation. 

He’d known Norberto when he was still being swaddled. Of course he was impervious to the prince’s penchant for shenanigans.

To a point.

Lord Dunstan had spoken about going to the inn, and the agreement was unanimous. Norberto was only out for barely a minute, and had come to by the time Jasper had gotten an arm around his shoulders. Really, he was more than capable of walking along himself, but he was content to let Jasper do all of the hard work, it seemed. In some ways, nothing had changed.

“I see His Highness is as lackadaisical as he has always been.” He muttered with light contempt.

“Now, what kind of a way to say hello is that, Jazzy-Wazzy?” Norberto nudged one foot against the back of Jasper’s leg. “Any more lip, and I might just have to spank you!”

“You--fainted. Straight into my arms.” Jasper grunted, jostling Norberto back up straight rather roughly. “You know. If you wanted my attention, you didn’t have to go to such extremes.”

Norberto just laughed, much in the same way he had when they were children. “Oh, I’m only joking!” 

“Wonderful to see your sense of humor is also just as tasteless as ever.”

There was another soft titter out of Norberto, but nothing more, and Jasper allowed himself to fall silent while he followed behind the Luminary. There would be time later, he supposed, to properly sit down and speak with Norberto--to properly apologize, as much as he wasn’t looking forward to that, but knew he had to. If Jasper was going to make amends, as he had sworn that he would, swallowing his pride was necessary.

All of a sudden, Norberto’s weight on him lifted, and when Jasper looked down, he realized that Norberto was now actually walking with him.

“Can’t have us falling behind now, can we?” The prince commented. “You never were the fastest on your feet.”

“...Hmph.” Jasper trudged on, unwilling to let that nerve be touched. “I can hardly be blamed, given all the deadweight I’ve been tasked to carry.”

“You could have always made me walk. Or given me to Martina. She could deadlift us both.”

“I know that.” And Jasper did know that, all too well. “But guarding the royal family is my sworn duty. It wouldn’t exactly reflect well on me if I threw you at anyone grasping for the job.”

“Mm. I suppose it wouldn’t, hm?” Norberto’s voice grew softer as he spoke, and softer still when he added, “Thank you--for always being there, Jasper. I mean that.”

Jasper stilled for a moment, but only a moment. His grasp on Norberto tightened, and he stood straighter as he walked, prouder, more assured. For as much as he’d like to say that he wasn’t some lapdog eager for approval, there really wasn’t anything else like Norberto giving his thanks. It was something Jasper hadn’t realized he’d missed as much as he had.

Not that he would admit that.

“We aren’t children anymore, you know. You won’t be able to sway me with just a simple pat on the head.” But he could, and Jasper knew it, and he suspected Norberto knew that, too.

“Mm, you’re right,” came Norberto’s sing-songy reply, “so I’ll just have to find something else to praise you for, then.”

[randomnumbers751650]

I’ve been thinking of the comparisons between Tolkien’s legendarium and Nasuverse. A bit of spoilers for FGO.

I don’t really think anyone can ever top J. R. R. Tolkien in building a fictional universe. When you start looking down the rabbit hole of his legendarium, it goes deep. From constructing not only a language, but a family of them, Tolkien managed to create such a sublime fictional universe. Even though his focus is primarily British - his objective was to write an epic of the British people and it evolved to, essentially, build the great part of the foundation of fantasy literature.

It was the project of a lifetime and he couldn’t complete. It had so many influences, from the stories from Beowulf, Nibelung, Kalevala, obscure lingustic references (I read Tom Shippey’s book Tolkien: Author of the Century, and he analyzes a lot of them, and show how important it is to worldbuilding, like the difference between speech of kings and elves), to the trauma endured in the First World War. Even after his death, we haven’t seen everything, Christopher Tolkien didn’t finish organizing everything yet.

The thing is that I don’t think it’ll ever exist another human being that can combine both creativity and passion to create worldbuilding, almost to the point of obssession. Tolkien was a product of his time, but he still managed create stories that still resonate with people from the entire world (even in spite of this Anglo-Saxon focus of his work - I wish there were more efforst like Tolkien’s one to other cultures).

“Good artists borrow, great artists steal.” This phrase was said by famous artists like Picasso (does it, though?), and it means to be aggressive when the issue is creativity and try to one-up previous artists (note that it doesn’t say “great artists plagiarize”). There are a lot of authors that borrow from Tolkien (the isekai bubble in anime uses the same pseudo-medieval D&D-inspired world, that also has influence from Tolkien), but the few that tried to do the same thing as him (in a lower intensity), but the ones that steal are few.

Among the ones that steal is Kinoko Nasu. Although I’m new to the Nasuverse, I’ve always knew who Saber and memes (”People die if they are killed”), but I never got into fandom until Fate/Grand Order. Although the gameplay is simple and intuitive, I really enjoyed the story. Sure, it’s a bit wonky in the beginning, but singularities like Camelot, Babylonia, and Temple of Solomon, besides Shimosa and Shinjuku made me wonder: this waifu-based gacha game shouldn’t have a story this good and yet it is that good - Temple of Solomon specially, with all the servants who fought against and for Guda join together to fight the demon pillars, Mash and Roman’s sacrifice, to punching Goetia in the face and the eucatastrophe that is Mash holding Guda‘s hand and escaping.

Thanks to a friend that is more well-versed in the Nasuverse and I think it shows how Nasu invested a lot of creativity and passion on it. While Tolkien had a focus on stories of epic times (what Nasu would call the Age of Gods), Nasu initially focused on urban fantasy (and I think it’s where his writing is more solid), to a complete world of magecraft, with its own rules and how they are in conflict with modern thought due to the concept of Mystery. But Nasuverse isn’t just about servants - what is a fundamental concept in one work, it might be a detail or not even mentioned in other (like Kara no Kyoukai).

The idea of Mystery in the Age of Gods is a really neat way to understand mythology, and it covers even the distant future like Notes. or attempts to meld magic and technology like in CCC. The rules are consistent (but quite bendable) and permeates Nasu’s work, even when they seem unfair, especially for the modern viewer who might think “why don’t they use magic to solve every problem” (the short answer is that popularization of magic would only leave to its extinction due to operating on Mystery).

And yet, the Nasuverse is held back by the amount of problems and editorial interferences. This is especially terrible in FGO because there is lots of evidence that the editors (Takeuchi) want to push for sexier designs (like Jack and her not pants, Raikou and her balloons, Boudica looking like a bad porno actress in the first ascension, and let’s not talk about Abby) just to selll to unsavory preferences. And this is present in early works, like why the twin maids exist in Tsukihime and the legendarily bad sex scenes of the VN. Also bad writing, such as from Agartha.

That made me thinking of another reason why we surely will never have another Tolkien: capitalism. Being closer to a Catholic traditionalist, Tolkien disdained capitalism (conservatives have a critique of capitalism, for example, Edmund Burke warned Adam Smith that he ignored the social costs of the industrial transformation, but Smith ignored him). Tolkien didn’t care about selling LotR merchandising, or writing characters to pander to certain people. It was a work of passion, not profit (so much that he only published a small part of his legendarium, that includes The Hobbit and LotR). But, today, capitalism is so pervasive that it’s nearly impossible to dedicate so much energy to this without thinking of merchandising and stuff.

The Nasuverse is a large and profitable franchise, but it makes me wonder what Nasu could make if he didn’t have such editorial issues (granted I heard he’s kind of a doormat and that is why there is so much of this pandering - I read that Nero was supposing to be a cruel dictator possessing the girl, but he liked so much the VA’s voice that he changed his mind and, although I hear she was good in CCC, in FGO she’s annoying and shilled and Septem was a waste of time), because I can see there’s a lot of dedication, “stealing” from Tolkien, in the sense of creating a unique world to tell stories of the triumphs and tragedies of mankind.

Still, both Tolkien and Nasu have lots of known and compelling works, and I applaud their dedication to worldbuilding, and I wish I could make a better analysis of the Nasuverse, because I find it fascinating.

[coe-lilium]

Hey Lilium! Thanks for your answer, it was really informative! I’ve got myself a litte tablet atm which is really working for me. I meant to ask about character design too- what advice could you give on that?

I’m glad it was helpful! 

Here’s my experience with chara des then, bearing in mind that I’ve yet to finalize a single original charades and all I’ve done till now are redesigns, which -for me, at least?- are a lot easier since they give you a guideline, even if just to say “I’m doing the opposite”. 

1. Find a main theme for the project/piece

2. Research-research-research  

3. Bear in mind that you’re creating/altering something for you to like 

4, bonus. once you’re done, consider the audience you’ll show -or not- your work to.     

1. the main theme/idea for all my redesigns is “I love Fate, but I also love history and die a little every time a Fate design has nothing to do with the character period/culture/history. I wonder what they’ll look like with accurate clothes?”. I’m still running with it, but it needed some adjustments along the way. 

The very first attempt, Martha, was as historically accurate I could manage, which… wasn’t a lot. “low class jewish woman of the 1st century aC” was a little too specific and google gave me little to work on and I had to resort to religious depictions. I’m still happy with her, but now I can see that in my wish to make her as historically plausible as possible I ended up with a design too accurate, to the point of being, well, bland. Bland and sticking out like a sore thumb if put next to any other Fate character. If and when I’ll revamp her, I’ll add details and be careful to include something to convey her personality.  

So, 1:1 with history was out, next best thing I had was mixing history and the “Fate”/anime aesthetic. Not for every character, mind (Nitocris looks quite fine in clothes taken straight out of a Egyptian parietal painting), but now that I’ve tried, I’ve settled down for “how they’ll look like with evident historical and cultural inspirations?”, which is what I’ve done for Boudica, Jeanne and Bradamante, what I’ll keep doing for the next pieces and also for the original Servants I’m planning. 

Speaking of originals Servants, since I’m having troubles explaining things in general, I’ll use one of them as an example for the next point.

*under the cut for length*

2. Let’s say I want to design another lady from the Orlando Innamorato/Furioso, Marfisa, as a potential Servant. 

As a first step I collect info from the source material. 

She’s of noble origins, mixed race, “pagan”/muslim (it’s complicated), possibly either north African or Arabian, queen of 7 countries by the time she’s 18, devout, proud, brave, honourable and incredibly skilled as a warrior, has no magic aids or objects but win on sheer ability alone. Twin of Ruggiero (Brad’s fiancee), friend of Astolfo and Bradamante. Had an armor she cared a lot for and went to great lengths to get back when it got stolen. 

(me being me, I also went to academia.edu, found articles/PhD on her and read them to better understand the character, but there’s few chara I’m willing to research to this length for a redesign).  

Considering Servants are summoned at their peaks, physically I’ll have her look in her late teens/early twenties, brown skin and with a hijab (which will require some research by itself).  

Onto deciding the clothes/armor now: 

- the “official” time period of her life should be that of historical Charlemagne rule and life, but the works in which she features have no claims of historicity whatsoever and were published in 1483 and 1516.

- comes from the same material as the Paladins and thus should -imo- looks like she somehow belongs with them even if she’s in their enemy camp and from a different culture. 

- as they are now, the Paladins common (?) aesthetic seems to be, sorry can’t contain the snark, “random fantasy isekai reject”, with Astolfo being the best designed by miles and Charles looking fine in his alt armored skin, the rest being a disaster. This point has the highest chance not to get contemplated in the final design bc I loathe it. Being less snarky, the few positive design details point to their inspiration being rooted more in 1500 than 800 AC fashion, so I’ll keep that in mind. 

So, she’s got no reason to being accurate with a single period (or culture) but could should instead integrate bits from many places and eras. Influences from easily accessible media is welcome, both to mirror the Paladins LN influences and bc the og poems were incredibly successful and printed in spades and read in courts and less noble houses alike. 

Now that I have my guidelines it’s finally time to hunt for visual references. 

Looking for historical islamic countries armor is a obligatory step bc I personally have no idea how they looked like and if I find how they were assembled and what colors were used it will be helpful to build my own ver and know how things attach. The period and place doesn’t count, I simply go for what I like more and think this particular chara would wear. Your mileage my vary, but for me history is always the first step to start from, bc if you use only popular media or artistic depictions there’s the chance to make mistakes easily corrected when looking at how the real stuff worked and also to get more… repetitive?

Then I look for how the character’s being depicted before in art of all periods. In this case all I found was a white lady in european armor, completely useless, but usually there’s a lot more and for other characters this “spot” is where I spend most of my researching time after the historical one. 

Then I look for… video games with historical settings that fit my criteria (remember, popular media). Find something I like and keep digging into a particular game and -if lucky enough- in the deviantart pages of the artists responsible for that or that other design.                            

After I’ve collected a lot of different refs I go here on tumblr or on DA or in dedicated sites to find nice palettes and after I’ve got different options for these as well, rejoice!, research time is finally over!

Now’s time to mix all the influences and draw :D

3. Not a lot to say here, just that if you’re not working under commission then you’re doing this for fun and mostly for yourself, so put in the things you like. You like implausible fantasy/jrpg/videogame/cartoon aesthetic more than IRL/ historical aesthetic? Dang, go for it. 

My mindset got a lot better when I embraced the fact I wasn’t redesigning these characters to “make them objectively better”, there was no “mission”: I was doing this to please myself and my own tastes, and that was enough.  

 4. For example, I know I could cover all the Fate ladies in armor for no other reason than I like ladies in armor and find at least neutral reactions on this blog or my DA page, but you’ll never see me post my works in the fgo reddit, even those I’m more proud of, because I know that subreddit and I have no intention to submit myself to a river of mocking, accuses of puritanism and muh censorship!!. 

I suppose this suggestion’s useless if you want to always widen your audience and/or are looking for employment in the field and need all the recognition you can get, but as I have no intention of doing either I get to decide where to show my stuff and to avoid places where it’s likely the reactions will make me feel miserable. No one needs that noise in their life for a hobby, fuck that.          

Last but not for relevance, as a cautionary tale? Spite/anger at something can be one hell of a motivation to start working, but it’s not enough to let you finish a project unless you start enjoy what you’re creating down the road. 

In case of og chara it shouldn’t be any spite, but as soon as you get tired of your work, stop, put it on hiatus and go concentrate on something else. We’re doing this because it makes us happy, it’s no good to let it drag and become a chore.